When you're reading Chekov, you're in this world that he's created. I never would have created that world. I don't know anything about that time period or that setting or those groups of people or what those experiences were, but oh my gosh, it's amazing to daydream on it and put yourself there.

We put limitations on the way that we think about things, on ourselves, think about all the boxes we live in, male or female, you're this age, that age, this is your job, this is not your job, everything is about getting boxed in. I think we accept a lot of those boxes, that labeling, and the way that we perceive the world, but what even is perception? It all seems pretty flexible to me.

The problem is if you play enough of parts in films that are sort of more financial products than anything or films in which the girl is a thankless, thoughtless, underwritten character along the way, you're no longer the person who had something fresh or vital to offer. I think it really does start to diminish some part of you, to put yourself through things you don't really want to be doing.

That's the funny thing about cinema, it is an intellectual medium, but it's also sort of anti-intellectual.

There are so many filmmakers who are so talented, and actors and writers who work so hard, and it's really hard to let your work enter the world.

I learned from my parents the idea that, if you are devoted enough and you want to study something enough, you can really teach yourself anything.

I think we're scared of intimacy - all of us, a little bit.